In the memoirs of no other contemporary theater personality (i.e., William Dunlap, Edward Cape Everard, James Fennell, William Wood), has a figure quite like John Durang emerged. His eagerness in grasping opportunities, expanding his skills, shaping his career, and establishing a home are unique, not only in themselves, but also in his articulation of these enterprises. Looking at his life through the lens of American national development illuminates the role of the theater in this critical and ongoing process, while also revealing the forms and repertory that shaped this theater. Remarkably few significant biographies are available of American dance and theatrical figures whose lives preceded the twentieth century. A small handful of memoirs by actors of the period fill in a small part of this gap, but memoirs-like John Durang's-need context and connections to be fully appreciated. The role of dance and theater in shaping the young United States is highlighted in this biography. John Durang: Man of the American Stage by Professor Lynn Matluck Brooks serves both general and theater-educated readerships. Interested groups include readers of American studies, dance, and theater.

A 1967 obituary in "The Times" labelled Stephen Joseph 'the most successful missionary to work in the English theatre since the second world war'. This radical man brought theatre-in-the-round to Britain, provoked Ayckbourn, Pinter and verbatim theatre creator Peter Cheeseman to write and direct, and democratised theatregoing. This monograph investigates his forgotten legacy.This monograph draws on largely unsorted archival material (including letters from Harold Pinter, J. B. Priestley, Peggy Ramsay and others), and on new interviews with figures including Sir Alan Ayckbourn, Trevor Griffiths and Sir Ben Kingsley, to demonstrate how the impact on theatre in Britain of manager, director and 'missionary' Stephen Joseph has been far greater than is currently acknowledged within traditional theatre history narratives. The text provides a detailed assessment of Joseph's work and ideas during his lifetime, and summarises his broadly-unrecognised posthumous legacy within contemporary theatre. Throughout the book Paul Elsam identifies Joseph's work and ideas, and illustrates and analyses how others have responded to them. Key incidents and events during Joseph's career are interrogated, and case studies that highlight Joseph's influence and working methods are provided.

This book is a true story of survival and valor that was written by William P. Chad during the second part of the 20th Century A.D. He has dedicated it to his mother Makroohi. Together they emigrated to The United States of America from Lebanon at the end of WWI after been exiled from Malatya, their homeland of Western Turkey, former Armenian territories. William spent most of his adult life writing it. He did a great job in describing the WWI Era events with the accuracy and confidence of someone who was both directly involved and afflicted by them like a war correspondent. He lived through those horrific events. In his tedious work, William strived for perfection and has achieved it. Then he passed away and the work has passed on to us. The content of this book is a time window into WWI Era when tragedy has struck not only the Armenian but also the Greek, Nestorian and Syrian Peoples for their Christian belief. Millions have perished at the hands of Ottoman Turks and their proxies, Kurd mercenaries. It is estimated that between 3.5 Million people have lost their lives during this era. These events are considered to be the first Holocaust of the 20th Century. "Is it easy to kill, to shed blood?" Hakim asked. "There is nothing to it, nothing at all. After the first kill, all the others are." Hakim interrupted him nervously, "I have robbed, but I have never killed, not even a sheep." "You will," the Chieftain said. "I will have to murder?" Hakim questioned. "To kill Armenians is not murder. It is legalized execution. We Kurds are not guilty of murdering the Giaourji. We are merely the instruments performing a service. We do not slay, we execute. Is the knife that stabs the life out of a sheep guilty of murder? Enough nonsense Now go and pass the word to our men of what we are supposed to engage in by Executive Permission: Kill, Kill, and Kill " Hakim stood up for a second then sat down again. "How will I know a Turk from an Armenian, hah? They all dress alike..." Hakim insisted. "Pull their pants down; a Christian is never circumcised." It is our hope that such tragedies can be prevented if we strive to raise the awareness of all Peoples on Earth no matter their religious belief... Amen All truth passes through three stages: First it is ridiculed; second, it is violently opposed; and third, it is accepted as self-evident." Arthur Schopenhauer (1778-1860)

No woman in the three-hundred-year history of the karyukai has ever come forward in public to tell her story -- until now.

"Many say I was the best geisha of my generation," writes Mineko Iwasaki. "And yet, it was a life that I found too constricting to continue. And one that I ultimately had to leave." Trained to become a geisha from the age of five, Iwasaki would live among the other "women of art" in Kyoto's Gion Kobu district and practice the ancient customs of Japanese entertainment. She was loved by kings, princes, military heroes, and wealthy statesmen alike. But even though she became one of the most prized geishas in Japan's history, Iwasaki wanted more: her own life. And by the time she retired at age twenty-nine, Iwasaki was finally on her way toward a new beginning.

Geisha, a Life is her story -- at times heartbreaking, always awe-inspiring, and totally true.

One of Lawrence Welk's most beloved entertainers, an Emmy Award winner and a Las Vegas headliner, Roberta Linn captured the hearts of fans nationwide. Her inspiring story unfolds in the pages of "Not Now, Lord, I've Got Too Much to Do."Born in a small Iowa town to a farmer's daughter and a minor league baseball player, Roberta discovered her talent for performing at a young age. She played in film productions and worked with big names stars like Shirley Temple, Cary Grant, and Clark Gable. At the age of thirteen, she fabricated her true age and enlisted in the Women's Army Corps, entertaining the troops of World War II.From 1950 to 1955, Roberta became Lawrence Welk's first television 'Champagne Lady," and she was displayed on magazine covers around the country. But the harshness of celebrity life finally took its toll, and Roberta's ill health led to a medicine-induced coma in 1958. Her amazing recovery reinforced her faith, and she continued to find success in her career. Both moving and uplifting, "Not Now, Lord, I've Got Too Much to Do" showcases the triumph of one of the most popular entertainers of Hollywood's golden age.

NEFFE A story that doesn't justify the streets but glorifies a destiny unfolding through time. As you read this book, as you digest each portion of my poured out soul, I need you to understand that these words are not just apart of me but apart of you. No matter who you are No matter how old you are No matter your race, religion, economical status, sexuality, gender, occupation, or IQ. I challenge you to journey through these pages of broken promises, revived hopes, and countless dreams without being able to relate. I dare you to continue over looking the dysfunctional instabilities that society tends to disregard behind heavy coats of bull...and expose them for the traumatizing burdens they weigh down to be. I encourage you to read my story and deny a need to call out the counterfeit, unveil the hypocrite and assist with reconstructing the destruction of innocence. I warn you as this book is in your possession to wake up the worrier within and re-affirm that life is not about being perfect but being in position I plead that you take heed and rise above the circumstances trusting that there is a bigger promise awaiting your arrival. as I testify to you, The truth The whole truth And nothing but.....

Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.

Fred Zinnemann directed some of the most acclaimed and controversial films of the twentieth century, yet he has been a shadowy presence in Hollywood history. In "Fred Zinnemann and the Cinema of Resistance," J. E. Smyth reveals the intellectual passion behind some of the most powerful films ever made about the rise and resistance to fascism and the legacy of the Second World War, from "The Seventh Cross" and "The Search to High Noon, From Here to Eternity," and "Julia." Smyth's book is the first to draw upon Zinnemann's extensive papers at the Academy of Motion Picture Arts and Sciences and brings Fred Zinnemann's vision, voice, and film practice to life.

In his engagement with the defining historical struggles of the twentieth century, Zinnemann fought his own battles with the Hollywood studio system, the critics, and a public bent on forgetting. Zinnemann's films explore the role of women and communists in the antifascist resistance, the West's support of Franco after the Spanish Civil War, and the darker side of America's national heritage. Smyth reconstructs a complex and conflicted portrait of Zinnemann's cinema of resistance, examining his sketches, script annotations, editing and production notes, and personal letters. Illustrated with seventy black-and-white images from Zinnemann's collection, "Fred Zinnemann and the Cinema of Resistance" discusses the director's professional and personal relationships with Spencer Tracy, Montgomery Clift, Audrey Hepburn, Vanessa Redgrave, and Gary Cooper; the critical reaction to his revisionist Western, "High Noon"; his battles over the censorship of "From Here to Eternity, The Nun's Story," and "Behold a Pale Horse"; his unrealized history of the communist Revolution in China, "Man's Fate"; and the controversial study of political assassination, "The Day of the Jacka"l. In this intense, richly textured narrative, Smyth enters the mind of one of Hollywood's master directors, redefining our knowledge of his artistic vision and practice.

If you want to C reason for taking the time to read my story, then here they are: A Child who survives a Coma that later Causes him Confusion and Creates a Comma, from Convictions of Crime to a life and a Career with a Car Company that made him a number one Commercial sales professional in the Country and then Conquered the Cancer that Claimed the life of his father, which Created in him a Cause to Convey to his Children that Courage is what Chances are made of and is the only Cord to Contention and a will to Continue."